As artists we can start formulating the unrecognizable, first by refusing to perform a freedom increasingly defined by conditions that legitimate primacy of the private, private expression, private feelings, private experiments, private intellectual property, private losses, private giving, private destinies. Especially as it becomes undeniable that such a “private” guarantee of freedom is rank privilege accorded to fewer and fewer people, those who already enjoy the lion’s share of security and aesthetic enhancement. In the overweening neoliberal psychology of public life, the rhetoric of privatization has falsely pitted the liberty and the functional diversity of individuals against all forms of collective endeavor. If the artist aims to make an impact on the use of science and related biotechnologies to concentrate resources in the hands of a very few, she must refigure both scientific and artistic practice
source: Claire Pentecost - When Art Becomes Life, Artist-Researchers and Biotechnology
Any work that seeks to overcome the quite successful marginalization of the "fine arts," must occupy multiple distribution streams- publications, websites and discussion threads, public lectures and discussions. Especially if we want to do more than comment on a corrupt system. The more compelling challenge seems to propose different ways of being creative, producing joy and resistance to a system that clearly serves a very few.
source: Artist Story: Claire Pentecost - How can art-making impact social and political issues?